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The Evolution of Pseudo Colour Reflection Holography

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OK thanks very much not in the good afternoon ladies and gentlemen my name is yet to be garrison and the title of my presentation is the evolutionary the silicon reflection holography and where we are today let me 1st of all I give you futile
details about myself I was introduced to holography bytes 18 of 20 years ago
and in 1 way or another I've been pretty much involved in ever since can't work in 2 main areas of a lovely in Barcelona from electrochemical nice impressions um worry produce holograms fall and security applications authentication Brempt section packaging promotion that kind of thing and the other area on had heavily involved in this is display lot I have my own personal studio uh where I specialize in reflection holograms more specifically color reflectional grounds hence the reason for my presentation today right critical agenda instruction in a brief history what a closer look at the process will have a look at some photographs of some results and then we'll draw some conclusions from that the
traditional monochromatic reflection hologram which the invention of the laser made practical many of us will also be familiar with the the 3 D photographic reality of true color achieved using red green and blue LEDs together bridging the gap between these 2 processes is the cida color reflection hologram this is a modification of the monochromatic process to achieve full-color but with much greater artistic input and control over the final results essentially pseudo-color reflection hologram contains 2 or more individually created single color holographic images recorded using 1 laser of a particular wavelength this forms of full multicolored image each color element shot separately and from an optical point of view can be considered as a completely unique hollow-gram the desired colors are created by swelling the emulsion in this case bromide by carefully controlled I'm prior to each exposure and up to 4 different exposure up for exposure to different colors can be recorded satisfactory answer 1 it's there's no only 2 or 3 from a theoretical point view these holograms and not masses step forward from the traditional monochromatic color grammar but from a practical point of view there are many considerations and potential pitfalls silicon reflection holography has always been approached with great caution due to that complexity and time involved in fact in the process many people are reluctant to take up the challenge of a technique which starting with the conception of the image has so many variables through process but in reality is that it's a technique that is accessible to many people both amateur and professional and on regional budgets the results can be standing in the potential from creation point of view almost unrivaled this applies to abstract images but also course symmetry where true lifelike appearance is required like any process it has its limitations but if these are considered and the main technical challenges overcome the results can be without that amongst the most breathtaking I can it have a look at the history this is not a huge amount of history of the site of a little when it's
only worth pointing out I was looking through young a copy of the Proceedings of the 1st Symposium on display lock-free back next year cause and I was quite surprised that you see the number of papers that were written regarding pseudo-color process and there were there were 3 papers that would pretty much dedicated to see the color reflection was 1 of them was by Stephen gradient by John Kaufman infected by no more and no less stigma Greece paper looks primarily at the at the on the theory and the mathematics calculating the correct reference angles for that 4 different different colors except for 1 John coffins paper concentrates on the idea of previous realization which is quite important concept when it comes to the cynical work and long moles paper focus primarily on uh B on the practical aspects of the process and I think it's safe to say that between the 3 of them and they were pretty much the pioneers of this process and even today together they provide the groundwork for anybody with a reason and experience and basic love which take up the you take up to 2 color and and and and the whole process and that the 10th aspects they cover it pretty much the applicable to and at the same time as so these papers written Various Artists predominant states people like come down Schweizer summary really back that's uh Randy James Bill Montini Melissa Crenshaw uh amongst amongst quite a few others we're using the pseudo color transmission process to produce some very interesting are pieces and a few of these people uh for example really back that and then the sequential where they they they then went on to use the the color and the cynical reflection process and to precincts in unison equally interesting pieces of work individuals and for example in the UK development & Gamble Carolyn polymer um I'm door they're they're using the cynical reflection prices to produce holograms of flats work and that a bit like a a 2 D 3D as we know in Boston on the today and there were many other people that were producing a small number of pseudo reflection holograms um as commissioned pieces or as the stock images whatever there were a few notable companies and in the late stages and moved into the field of commercial Sudakov hollow reflectional of Richmond holographic studios based in the UK started color mixing using the process in order to try and simulate skin tones in in large-format pulse portrayed meanwhile in in the US Larry Lieberman and match Shriver were involved in the ventricle see projects and it has the facility was set up for making images of about of holograms of images by well-known American artists and although I found that in any of these holograms myself but they were apparently very very good indeed and and you know pretty much to the fullest fear if any of these companies or individuals are currently active in the field and so by the early nineties process have been largely abandoned I think this is due to 2 main factors the limited availability of suitable recording emotions and its lack of commercial viability both in terms of material and labor costs site the question is why of to some people could argue
may be justified it's imprudent to persist in field which others have long since given up but let's be clear this is a technique that on the 1 hand analyzes great artistic creativity and yet has the potential to recording image with scientific accuracy both in terms of color and registration however it requires the application of scientific precision to do this and I think that's the stumbling block in many cases the results they speak for themselves that brightness saturation the clarity of these organs can be very good indeed approaching that of a single color reflection hologram and yet these holograms of so much more with the end result is much greater than the sum of its parts but it's important to remember a few points as well with this technique your you even the highest resolution emotion is being pushed right to the limits some with with you know with the standard reflection hologram that that contains a huge amount of information you if you combining up to maybe 4 images onto the 1 silver bromide plate you you your pretty much pushing its limits and it really can be quite an achievement 1 of the key controlling factors a cost is the holographic system which must be optimized and find to at a very high level and that's not fair and trying to be the only proper way of achieving I think it will do not have a look at the some of the advantages of process and the
mobile unit balance the argument of the then take a look at some of these limitations I came Saint 1 of the the you know from a creative point of view 1 of the most important things you go full range of colors you can have up to 4 exposures onto 1 and before you start seeing a deterioration of the image and always the bases for exposures can be any single color in the spectrum in the visible spectrum so you you really can yeah if you if you're careful enough and patient enough you can combine some lots of colors together the colors effects is a reflection of the course of the colors of fixes is no color change in the vertical direction as that would be with the with a rainbow hologram and that again what from person 1 that's that's something that's you go by far is a horizontal and vertical parallax which again in some situations it's not it's not really important but in other situations it's it's quite so it's quite nice to have parallax in both directions and you have got the an 1 you got you got full control of the image of the mastering stateside yeah maybe 90 % of the creative input into the hollow-gram is is that mastering stage or the colors you're creating a of the B H 2 that the transfer stage but he you know it's important to have a lot of from a creative point of view way so it's important to have a lot of control of the mastering stage and if your if you're limited to 2 Dennis um yeah you you you you you quite limited this can be as creative as you want and you know where the source said uh the colors can be bright and saturated or can be subtle natural on it's entirely up to you you choose the colors you want you choose what color combinations you want you choose mean you not limited to the real colors of the of the subject matter which in some situations the disadvantage in other situations is an advantage you can be a good and this is just from personal experience you can even make holograms um I've got the animals to a little bit more assisted 7 now but certainly you know for the 1st few years of his using a attend what laser helium-neon laser and I was recording polygrams up to 8 by 10 inches on on a table that was followed by 3 feet and 1 by 1 point yeah pretty much 1 . 1 by 1 . 5 meters so yeah you can you know you you you can you can produce the solid grounds in a relatively small space with some with relatively little equipment to yeah that's said I k
limitations this this gives the limitations as well there it is
made out of ice is a painstaking process the Stephanie no made no quick way of making the solid rounds you wanna produce hologram quickly you know just pick something else some of the more colors the more colors you you 1 incorporates the image the more complicated obviously there's a lot of variables and and you know it can be frustrating sometimes because even if you try and keep the variables that you can control controlled and this there's a lot of other variables out there which which you can't really control unless you in a temperature-controlled humidity controlled environment where things kept spray were very much on the control you know it's it's difficult to negotiate in that that in my garden and it's not it's not got climate-controlled legal not some so you have the you can be producing hollow-gram 1 then you get covers covers perfect the next day the temperature in the higher or lower than the humidity can be different and and you get a complete different result so you get consistency can be a you do have to think very carefully about the subject matter from pretty much from the outside from the beginning and and and its appearance how you wanted to look at the end you know John Kaufmann's papers good and there's bad because it it really emphasizes the need to to previous realize the image and you may be able to predict in a sense what what what the image what hollow-gram will look like maybe 15 stages in a few weeks later so you know you can't you can't sort of stop halfway and change things really have to think about everything right at the beginning and then have a have a have a bit of a plan
yet the subject may need to be painted in between exposures that can be obviously quite limiting in some situations if your if your boring very expensive hours from museum in order a happy if and painted white say you need to think about that I k and I'm going describe the very basic
optical set an these the H 1 of the 1st generation later transmission hollow-gram and is
completely dependent on the image you shooting you don't have to consider any differently to the way that you would find any laser transmission hollow-gram designed for open aperture transfer so you really can you know got full flexibility it's so it's it's a straightforward laser transmission hologram you need to you will need to she's hollow-gram separate
master for each of the colors that the you can have in final gram be the Agency transfer sets up is more sophisticated than the standard uh h 1 h 2 sets of firm to set up for a for reflection transfer from monochromatic transfer each color you requires a separate reference angle to compensate for the different reconstruction angles caused by the shift in color say that can take a fair bit of playing around to get together actually set up and that's
the that's a very basic um a sort of simplified version of what would the transfer set this you can see that very well so that the text should have been a bit bigger than that actually right related people laser there you got chefs front-surface near this this splitter there is ideally mounted on a on the rotation stage of 1 sort or another so that you can actually um yeah so that you can rotate it for each color you have to rotate it by very much few degrees um and then you go each of the was that masculine anyway you got into the got a separate mirror for each of the the reference angles for different colors RGB in that particular case I mean you not just limited to RGB of course you can any colors the light come and each of although I'm saying all these angles all these things together I think as you are saying that each of these will be shot separately because you need separate master for the colors and optical imaging lens in there because just in a sense just to simplify the diagram that are actually use a culminating there but a lens or mirror doesn't make much difference way so you what to what I've done
here it is I've taken photographs of the original objects and the hollow-gram so that you can see you know in some situations are very similar in other situations that completely different so this this particular 1 is a 4 by 5 inch uh reflection altitude colors the borders frontal illuminated and then the background is baffling major eliminating the board in place to act as a blockade so this the masters this is a hologram about made quite a few of these around on
display at the exhibition program of glass bowl the again it's a two-color hologram the ball with France eliminated and because it it was a in the green in the hollow-gram is actually much and it's a much of bright green and that then the green on the original but also some are still using helium-neon lasers achieve this which some people might find this surprising because unit green under a under a red light doesn't doesn't exactly look very bright but because this was a very thin layer green glass of Lincoln and it was an in between the the green glass and the uh the rate loss inside the ball it was a layer of white glass of that is reflecting quite a lot of light so you get a 0 France eliminated for green component and it was eliminated inside for the for the red component the the this is again on
display in the exhibition falls from again 2 colors the the that's on the left you can see that the the original bonds that was and the the 1st exposure the 1st some master was pretty much of what you see there and that would be for the yellow component and then was painted white for the uh and and again in front eliminated for the blue component is a hologram of a bronze and 8
by 10 inches again the colors front eliminated for the 2nd component I mean bronzes is quite difficult I almost by chances color on that because it's it's it's it's it's a differ very vertical college to achieve and the light brown holograms not innocently 0 1 also emitted from different eliminated for the for the for the green and blue components of a but with a white background so if 1 of the exposes the background is there for the other exposure it wasn't and the model was also kept in the same place for both but masters Gromit that's a three-color hologram
lighting angles were kept exactly the same for all 3 colors and the model was simply painted in between uh for each for each h 1 for each master and you have to make sure that the model goes back at the data model and I find it easiest to model away from the the optical set up and and painted and without having to sort of struggle with in place you have to get it said they go make sure it goes back to exact the same place but was problems of coverage version and come away that was the so the sculptures are made some of the
Haudenosaunee by 40 centimeters so do we see on the left hand side is is essentially black and white sculpture all the colors are completely artificially created and savings and illumination the angle lighting angles were exactly the same for all colors and the subject was painted the different sections with different but the book painted basically for each than on color conclusions right yeah what described here the
past 20 minutes so it's process that clearly has potential yes it's been around for a while but it's it's never really been exploited and with the exception of a few companies all individuals who persist through the process for while makes to and he tried technique simply will quickly gave up and and then moves on the and for many of this there is a man yeah sorry yeah for many of simply considered too frustrating and unmanageable as a process if I'm honest sometimes I would have to agree but for the most part of it said is a technique that is usually undervalued and underutilized interesting I find over the over the years that that that acidic color can actually offer more it's technique as a display technique than true color in a number of situations it has the ability to accurately simulate real life but also the opportunity for tremendous artistic increased flexibility admittedly the process leaves a lot and the and figure out has creates the desired visual effects and get round the inevitable home hurdles in order to achieve that but the end result is a classical reflection hologram in its purest form with little or no compromise who knows in the future what systems will be able to create a pixel-by-pixel in the field of computer color for 1 fact certain they have a while to go before they can match the resolution contrast these holograms classical still sets the standards to which other techniques aspire and some of the countries that without and good work on that it so have many it is the 1 of the following this might read you do you change the the reference beam distance to it will would would you make H 1 what are the point the source of this spatial filter essentially good morning 1 of and the new reconstructing with another wavelength number according with with 6 3 3 a month and I am reconstructing at 6 3 3 as well so there's no change in wavelength there this most is what you need to do you change a distance of the door of the recording to compensate for the the final you mean you say it in other words you mean the the distance between the player and the space builds up but I do in some situations but another situation depends on the image basically if if it requires registration if there no registration is very critical then then yes I do try and change I'm still limited to the size table of got really so um you know it it it it really depends on the on the nature of the image to be honest so and world so you but but for a 2nd chemistry full full mastery of transferring uh for for mastering user ascorbic acid base development from which comprises of ascorbic acid sodium carbonate sodium hydroxide and a little bit offended and speed things up a bit and for the transparency of transferring is based part the 10 grams of part 60 grams of shit sodium carbonate police not sending you which we not to provide an
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Metadaten

Formale Metadaten

Titel The Evolution of Pseudo Colour Reflection Holography
Untertitel And where we are today
Alternativer Titel The evolution of pseudo colour reflection holography. And where we are today
Serientitel 7th International Symposium on Display Holography (ISDH 2006)
Teil 37
Anzahl der Teile 61
Autor Beguiristain, Iñaki
Lizenz CC-Namensnennung 3.0 Unported:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.
DOI 10.5446/21298
Herausgeber River Valley TV
Erscheinungsjahr 2012
Sprache Englisch

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